Gökhan Türkmen - Oysa ki - Chord

Key C major – A minor Chords C, Em, Am, D, Bm, F Difficulty already in its easiest key

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Capo 0

Em
Sana her baktığımda günahlarım artar
Am
Oysa ki en güzeli sensin
Em
Sana her söylediğim şey seni bana getirir
Am
Oysa ki imkansızsın
C                                     D     C  Bm
Yakalayamam ulaşamam sana çünkü sen aşksın
C                              D      C     Bm
Kayıpsın olmayacaksın oysa ki en gereken anımsın
 
Em                                          Am
Sana aşık oldum ben kimse bilmesin sen de bilme
C                                        Em
Boşver ben yaşarım tek başıma mutluyum böyle
                                     Am
Sen temiz kal bütün günahlar benim olsun
C
Oysa ki doğduğumda ağlamışım ben sana
Em                 F 
Neredesin diye, neredesin diye
 
Em                                    Am
Hata yaptım hep yanlış bedenlerde yordum kalbimi
Em
Tam da ara vermiştim aşkın acısına
Am
Sen ortak oldun yaralarıma
 
C
Oysa ki gözlerin her güldüğünde
D           C        Bm
Seninle kaybolmak istedim
C
Hiç kimsenin olmadığı yerlerde
D                C        Bm
Kimsenin sevemediği şehirlerde

End of song Play again?

Gökhan Türkmen - Oysa ki Tabs

NotesX

Harmony analysis

Gökhan Türkmen – Oysa ki: key and chord analysis

The song opens on Em and ends on Bm. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C major side because C is heard 10 times against 6 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to C or to Am; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	10×
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
II	D	Chromatic colour chordoutside the key	D · F# · A	4×
iii	Em	Mediant — a tonic-family shade	E · G · B	7×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	1×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	6×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	4×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
ii	Bm	Chromatic colour chordoutside the key	B · D · F#	4×
III	C	Relative major — the bright side	C · E · G	10×
iv	Dm	Subdominant — moves away from home	D · F · A	—
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	4×
v	Em	Minor dominant — soft pull	E · G · B	7×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	1×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 32 times in total; 4 of them sit naturally inside the shared scale. D, Bm step outside the scale as colour chords.

Chord movement

Em Am Ciii → vi Amv → inatural-minor cadence ×6

The move to watch is Em → Am, heard 6 times. From the C side it reads iii → vi; from the Am side it is v → i (natural-minor cadence: gentle, modal arrival). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are C, Em, Am, D; read them as I–iii–vi–II in C or III–v–i–IV in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. The final chord is Bm; the ear comes to rest in C.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.